The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich| his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.。四名好友,洛洛、卡卡、阿丽和阿兰过着无忧无虑的生活,他们是委内瑞拉首都加拉加斯的一群富有青年。他们享乐主义的关系中充满了毒品、群交和危险游戏,但一天,阿丽被残忍杀害,这一切都戛然而止。十六年后,阿兰仍被她的死亡所困扰,他震惊地发现杀害阿丽的凶手并不是大家所认为的那个人。在一名记者的帮助下,阿兰必须在这部充满激情的心理惊悚片中面对自己过去的幽灵。@深影。Inès在一家位于布加勒斯特的德国大型企业工作。她的生活一直井然有序,直到她的父亲Winfried突然造访,并向她提出了这个问题:“你幸福吗?”面对这个根本无法回答的问题,她的生活开始出现一系列翻天覆地的变化。她并不喜欢自己的父亲,甚至有点以他为耻,但他却通过捏造一个名叫Toni Erdmann的诙谐人物,试图为她的生活找到一个方向。。